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SHERIFF X 
OF TUCKAHOE 

BY 

GEORGE M. ROSENER 



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THE 

SHERIFF OF TUCKAHOE 

91 2Dramatie ^httth in <©ne 9lct 



BY 

GEORGE M. ROSENER 

AUTHOR OF "coast FOLKS,'' "SLEEPY HOLLOW," "AN IRISH EDEN," 
« THE FROZEN TRAIL," " RELATIONS," ETC., ETC. 



Copyright, 1911, by Dick & Fitzgerald 



NEW YORK 

DICK & FITZGERALD 

18 ANN STREET 






CC!.D 2393'J 



NoTE.-^The professional acting rights of this play are 
expressly reserved by the publishers, to whom theatrical 
managers who wish to produce it should apply. Amateur 
reprsentation may be made without such application and 
without charge. 



THE SHERIFF OF TUCKAHOE. 



CHARACTERS. 

Brock Larabee The Sheriff 

Manse Parsons The Half-hrother 

Mrs. Parsons Their Mother 

Slim Flanders Their Friend 

Time. — Christmas Morning. Locality. — Sheriff's home at 
Tuckahoe, Cal. 

Time of Eepresentation, about 1 hour. 

SYNOPSIS. 

Slim's coffee and corn-bread. The Eound-TJp. Road- 
Agents. Manse wounded, arrives home. Accused of being 
one of the road-agents. He denies it. Circumstantial 
evidence against him. Slim on the hunt. Manse safe so 
far. Bathing the wounded hand and tell-tale results. Manse 
discovered by Brock. His mother's pleading for his relief. 
Brock's danger. The incriminating watch. Brock's sacri- 
fice, and how it was not required. 

Music for rise of curtain "' The Arkansas Traveler/' 

COSTUMES. 

Mrs. Parsons. A woman of about sixty years, mild in 
manner, big-hearted and possessing great love for her way- 
ward son. She wears a plain gingham wrapper and an 
apron. 

3 



4 The Sheriff of Tuckahoe. 

All the male characters wear similar costumes. Large 
hats, coats, boots, flannel shirts, mufflers and gloves. They 
all carry a brace of revolvers. Slim carries in addition a 
Winchester. 

Brock. A tall, awkward, though handsome man of about 
twenty-seven. Brave, big-hearted and possessing all the 
traits of his mother. He speaks with a good-natured 
Western drawl. 

Manse. About twenty years of age, sallow complexion, 
nervous, and quick in his movements, and sullen in nature. 
He plainly shows that his life has been given for the most 
part to vice. He speaks with a marked nasal drawl. 

Slim. A typical frank Westerner, about fifty years; red- 
headed and jovial. Carries a Winchester. 

PROPERTIES. 

Old-fashioned bureau, wash-stand with drawer, piece of 
linen in drawer, pitcher of water, wash-basin and towel on 
wash-stand. Kitchen table covered with white tablecloth, 
set for breakfast for two. Large plate of corn bread. 
Coffee-pot, water-kettle, frying-pan set on stove. Coffee in 
coffee-pot. Bible on mantel. Watch. 

STAGE DIRECTIONS. 

As seen by a performer on the stage, facing the audience, 
R. means right-hand; l. left-hand; d. f., door in the flat; 
D. R., right door; d. l., left door, c, center of the stage. 



THE SHEEIFF OF TDCKAHOE. 



SCENE. — Interior of sheriff's home. Kitchen set. Door 
in flat. Doors r. and l. Wash-stand with hasin, pitcher, 
towel, at hack of stage. Stove and mantel l. Boching 
chair l. Old-fashioned bureau R. Kitchen table set for 
breakfast, and two chairs c. Old Pictures about walls. 
Wind effect is heard off stage. Lights up at rise. 

DISCOVEEED Mrs. Parsons working about the breakfast 

table. 

Mrs. Parsons (goes to d. r. and knocks). Brock! Brock! 
Do get up! It is most nine o'clock and breakfast has been 
waitin' on yer fer most fifteen minutes. It'll be colder than 
stone in fifteen minutes more. (Slim knocks outside in 
D. P.) Come in. 

ENTER Slim Flanders, d. f., followed by a gust of wind. 

Slim. Mornin', Mrs. Parsons, and a Merry Christmas to 
yer. 

Mrs. p. Same to you. Slim, and many of them. What 
brings you up this way? 

Slim. Nothin' much; jest kinder thought I'd drop in 
and say "howdy." 

Mrs. p. Sit, and make yerself ter hum. Have a cup o' 
coffee. 

Slim. Thanks, don't keer if ah do. Coffee'll strike me 
jest about right now. (Sits in rocking chair l., while Mrs. 
Parsons prepares a cup of coffee which she passes to him.) 

Mrs. p. Did you hang up your stocking last night? 

Slim. Not much! Any man who does a fool trick like 
that with the set of boys we have over at the Double X 
ranch will go about with one sock, unless he has several pairs 
laid by. But we sure are goin' ter have some dinner as soon 
as the boys get back from the round-up. 

Mrs. p. Eound-up? This time o' the year? 

5 



6 The Sheriff of Tuckahoe. 

Slim. Yep. {He drinks some of the coffee) Do you 
mind ef ah have another helpin' to the sugar? Ah have a 
powerful sweet tooth. 

Mrs. p. {passing the sugar). Here you be. 

Slim {puts more sugar in cup and drinks the balance of 
coffee) As I was sayin'. . Do you mind lettin' me have jest 
a small piece o' that corn bread? I allers like ter have 
somethin' ter dip when ah'm drinkin' coffee. 

Mrs. p. {passes the corn bread). O' course! Help your- 
self. 

Slim. Thanks. Powerful pretty cake ter look at, ain't 
it? Now in regard to that round-up I was speakin' about — 
well, I swar! Will you kindly let me have a little more o' 
that very good coffee? Ah've clear gone and drunk what 
ah did have, without noticin' it. 

Mrs. p. {pouring out more coffee). There's plenty here. 

Slim. You know it's this way with me. Ah allers likes 
ter have coffee ter dip in when ah'm eatin' corn bread. 
{Dips corn bread in coffee and eats) Lor', but that sure 
does taste good! 

Mrs. p. You was speakin' of a round-up. Slim. What 
kind o' critters is rounded up this time of the year? 

Slim {between mouthfuls). Road-agents. 

Mrs. p. You don't mean hold-up men? 

Slim. Yes ah do too. 

Mrs. p. Have they been operatin' near here? 

Slim. Yep. 

Mrs. p. Where, for goodness sake? 

Slim. At the Wells Fargo Express down in the gulch. 
They got about five thousand in cash; killed the agent, and 
clear got away. 

Mrs. p. When did all this happen? 

Slim. Last night some time. Nobody knows jest when. 

Mrs. p. Then they got a good start, ain't they? 

Slim. Yes, but we are close to them now. The snow 
makes it easier fer us ter track 'em. Lor' I could track a 
flea on the snow in weather like this! 

Mrs. p. I do hope there will be no more bloodshed. And 
I do sure feel sorry for those poor men being hunted as they 
are. 

Slim. Sorry? Sorry fer a band o' hold-up men as killed 
a express agent? By the eternal! And you the mother o* 
the sheriff! 

Mrs. p. Don't make no difference. You know I have 



The Sheritf of l^uckahoe. i 

another boy somewhere in this world. He is Brock's half 
brother. He warn't allers a good boy, but he is ma son. 
And when I think that perhaps he is one of them men out 
there, ma heart comes mighty near breakin'. I couldn't 
stand it ter have him hunted like some common critter. I 
jest couldn't stand it. {She wipes a tear away with the 
corner of her apron.) 

Slim. LorM There ain't no fear o' that, ah reckon. 

Mrs. p. I hope not. But there, I am a visitin' jest like 
there was nothin' else to do. 

{Goes to D. R., knocks, and EXITS.) 

Slim {reaches over to table and takes two pieces of bread; 
one he puts in pocket, the other he dips in coffee and eats) 
That sure is good corn bread! 

After business Mrs. Parsons ENTEKS d. r. 

Mrs. p. Why, Slim, he ain't there! 

Slim. Who? Who ain't there? 

Mrs. p. Brock, o' course. 

Slim. O' course not! He's out roimdin' up cattle crit- 
tered road-agents. Ah met him at the Forks about two 
hours back. 

Mrs. p. He never let me know a thing about his going. 
I thought he was still abed. 

Slim. Now, that's jest like Brock, ain't it? He got word 
late last night most likely, and rather than worry you one 
night, he starts off without sayin' a word. Now don't you 
fret on his account. There ain't no bad men in these parts 
that's goin' ter get the drop on him. 

Mrs. p. It ain't just that. But you know this is fright- 
ful weather, and he's gone off without his red flannel under- 
shirt. 

Slim {laughs heartily). Well, that's good! Ah'll have 
ter have another cup o' coffee on that. 

(Mrs. Parsons is pouring him some coffee when a shot is 
heard off stage. They both start, Shm sets his cup on 
table and goes up to d. f.) 

Slim. That's the signal. They're closin' in on 'em. If 
Brock comes this way, tell him I've gone ter cover the trail 
that leads into the high range timber. So long, and a Merry 
Christmas! ^ [EXIT d. f. 

Mrs. p. What if it should be Manse! One son seeking 
to protect the law, the other ever ready to break it. Perhaps 



$ The Sheriff of Tuckahoe. 

I can find some consolation in the Book. (Tahes Bible from 
mantel, sits in rocking-chair and reads, A shot is heard off 
stage, then comes the sound as if a heavy body fell against 
the door. Starts and listens) Who — Who is it? (There 
is no answer. She speaks louder) Who is it? 

Manse (off stage). It is me, mother. Open the door, for 
Heaven's sake be quick! (Mrs. Parsons goes to the door, 
raises the latch and opens it. Manse almost falls into the 
room; he slams the door after him and holts it; his hand is 
spotted with blood.) 

Mrs. p. Manse! You! What is it, boy? Speak! 

Manse. Don't look at me like ah was a ghost. 

Mrs. p. What is the matter? 

Manse. They're after me, all of them, and that measly 
half-brother o' mine. But they won't get me, no, if ah have 
to shoot up the whole outfit. 

Mrs. p. They say the Wells Fargo Agent was killed last 
night. 

Manse. Well, what's that to me? 

Mrs. p. I hope it ain't nothin' to you, Manse. Only 
they'll lay the killin' to you. 

Manse. Well, they lie when they say it. 

Mrs. p. Then you didn't have no hand in the killin' ? 

Manse. Of course ah didn't. 

Mrs. p. Then why don't you give yourself up and face it 
out? 

Manse. Cause the evidence is too strong agin' me. And 
besides I'm wanted fer runnin' them bosses off old Broad- 
side's place last spring. 

Mrs. p. You did that. Manse? I can't believe it! 

Manse. There you go! You're like aU the rest. You're 
enough ter drive a man crooked with yer everlastin' preach- 
in'. 

Mrs. p. It ain't that. Manse, you're ma boy jest the same 
as Brock is and 

Manse. Brock, allers Brock! He's got it all! I ain't 
nothin' but jest a hunted critter. 

Mrs. p. Don't say that, Manse, cause it hurts down deep 
ter have the boy I love say words that make his mother out 
a hard-hearted woman. You could be just as honest as 
Brock is and get along jest as easy if you only wanted to. 

Manse. But ah don't want to! Wliat? Me live here 
tied down like a strayin' heffer? Ah guess not! Honesty? 
What does it get yer? Them that is honest is worse than 



The Sheriflf of Tuckahoe. 9 

them that ain't. Look at yer son Brock; if he was ter come 
in now he'd take me dead or alive. He'd kill me, or see me 
hang, me, his own brother. Do you call that bein' honest? 

Mrs. p. But Manse, you broke the law. 

Manse. Yes, and ah'll break it again. There ain't no 
one goin' ter tell me what ah should do. 

Mrs. p. Manse, won't you fer my sake at least try to do 
right? 

Manse. Oh, ah can see through you. You want me to 
give maself up. You think you can get me to do it by 
kind talkin'. Well, ah won't, see! Before ah'm takin' by a 
lot o' home lovin' coyotes ah'll see 'em all damned fust. 

Mrs. p. You think that of me. Manse, me, your own 
mother ? 

Manse. Well yer said it, didn't yer? 

Mrs. p. If you know how your words cut. Manse, hard 
as you are, I don't think you'd say 'em. (A hnocJc heard 

on D. F.) 

Manse (in intense whisper). There! You've kept me 
talkin' and they have rounded me up! This is all your 
fault. (The hnoch is repeated.) 

Mrs. p. In a moment, I'm just fixin' the stove. (To 
Manse, in a whisper) Go in my room, quick! 

Manse (goes to d. l.). Remember, if they try to come 
inter this room, ah'll get some of 'em. [EXIT D. L. 

(Mrs. Parsons goes to d. f., raises latch,) 

ENTER Slim, with drawn gun, and looks about. 

Slim. Everything all O. K.? 

Mrs. p. Why of course! What made you think it 
wasn't ? 

Slim. Nothin' much, only one o' them varmints jest 
crossed by Bison Hill and ah took a shot at him. Ah think 
ah winged him too. Don't see how ah could have missed 
him altogether. Ah thought he might have come here and 
was a disturbin' yer Christmas. 

Mrs. p. Did you track him in the snow? 

Slim. That's jest it. His trail leads right up to your 
door, and then another trail leads off the other way, and fer 
the life o' me ah can't tell which is which. 

Mrs. p. It ain't likely that any one could have come 
here without my knowin' it, cause I ain't left this room 
since you went away. 



10 The Sheriff of Tuckahde. 

Slim. Don't know but what you're right thar. YouM bet- 
ter have one o' Brock's guns handy, cause there ain't no tellin' 
what them fellers is up ter. So long! [EXIT d. f. 

Mrs. p. {locking door after him). All right, Manse, you 
can come out. 

ENTER Manse d. l. 

Manse. Who was it? 

Mrs. p. Slim Flanders. 

Manse. Huh, he couldn't go after a sheep and get it, 
much less a man. 

Mrs. p. Why, Manse, your hand is hurt! I never 
noticed it before. 

Manse. It ain't nothin'. Jest a scratch one o' them man 
hunters gave me. 

Mrs. p. {taking his hand tenderly). Let me fix it for 
you. 

Manse {jerks it away). No, let it alone. 

Mrs. p. You had better bathe it. Manse. Here is some 
water and a towel. {She opens the drawer of the wash- 
stand and takes out a piece of cloth) And here is a 
bandage. 

Manse {takes off coat, rolls up sleeves and hathes his arm. 
He washes the hlood which is very apparent on his arm into 
the basin) Lor' ! How ah do wish it was summer or 
spring, then ah'd give that gang an argument they wouldn't 
forget in a hurry. {Bandages his arm.) 

Mrs. p. Is — is the cut deep, Manse? 

Manse. No. Its just scratched a little. 

Mrs. p. Does it hurt very much? 

Manse. No, ah told yer. Do you think ah'm a baby? 

Mrs. p. I wish you were a baby again, Manse. 

Manse. Get me something to eat. Ah want to get out o' 
here. 

Mrs. p. The coffee is on the table now. 

Manse. Coffee! Bah! Ain't there a drop o' liquor in 
the house? 

Mrs. p. No, Manse, there ain't. {There is a knock on 

D. F.) 

Manse. Who is that? 

Brock {outside). Mother, open the door! It's me. 
Brock. 

Manse {drawing a gun). Let him come in. Ah'U settle 
with him now. 



I^he Sheritf of Tuckalioe. IX 

Mrs. p. Stop! Go into my room again; I'll send him 
away soon. 
[Manse EXITS d. l. Mrs. Parsons throws coat in after him. 

Brock (outside). For the love of Moses, open this door! 
Ah'm froze about stiff. (Mrs. Parsons opens the door,) 

ENTER Brock d. f. 

Brock. Hello, mother! Merry Christmas! 

Mrs. p. This is a nice time fer you ter get home! Why 
didn't you tell me you were going out last night? 

Brock. What fer? Ain't it bad enough that one of us 
had ter get up? 

Mrs. p. Where have you been? 

Brock. Out roundin' up them road-agents. Got 'em all 
but one. Lor', Ma, give me something to eat. Ah'm durned 
near starved. (Sits at the table.) 

Mrs. p. Brock, before you start to eat, will you run 
down to the store for me? 

Brock. Ah don't want to go now. Can't it wait? 

Mrs. p. Do go. Brock, just to please me. 

Brock (rising). All right. What is it you want? (As 
he goes to door he notices the hasin in which Manse washed 
his arm. He looks at his mother who is husy about the stove. 
He speaks very slowly and deliberately; his whole manner is 
changed to one of seriousness) Mother, where is Manse? 

Mrs. p. (starts and looks toward d, l.). Manse? 

Manse. Ah see he is in that room. (Draws his revolver 
and aims it at d. l.) Come out! Ah said come out! (Door 
opens slowly) Put your hands out first! (Manse puts his 
hands out) Now keep them away from your belt, or ah'U 
fire, ah mean it. Now come out. 

ENTEE Manse d. l. 

Manse. Well? 

Brock. Ah reckon ah've got yer. 

Manse. Beckon yer have. 

Brock. Ah was hopin' and prayin' that it might not be 
you. 

Manse. Keep your prayers for them that needs them. 
Ah don't. 

Brock. Maybe yer right thar. O' course yer know I've 
got to take yer up ? 

Mrs. p. No, Brock, don't say that. Eemember he's your 



IZ l^he Sheriff of Tuckahoe. 

brother! Let him go this time, he'll never break the law 
again. Brock, for my sake! 

Brock. Don't ask me to do that, mother, cause ah don't 
want ter refuse you anything on earth, but now ah 

Manse. Let him take me up, mother. Didn't ah tell you 
he'd see me hang? 

Mrs. p. Don't say that word, Manse, please don't say it. 

Manse. Ah, stop yer dum cryin' (To Brock) Come on, 
let's get out of here. . 

Brock. Look here. Manse, you're ma prisoner, but if you 
speak again like that to mother, ah'U find a way ter break 
your head. 

Mrs. p. He don't realize what he is sayin'. Brock. Won't 
you please let him go? 

Brock. Good Lord, mother! You don't know what you 
are askin'. Can't yer see where ma duty lies? If ah could, 
and it would make you any happier, ah'd take his place 
willingly. 

Manse. Talk's cheap. 

Brock. Yes, ah reckon. But there are some things on 
this earth that are a durned side cheaper than talk. 

Manse. You mean me? 

Brock. Ah mean any man that don't respect a woman. 
And when that woman is his own mother, then ah can't 
find words big enough ter say what ah think o' him. 
(Manse starts to reach for his gun) Stop that! Take 
your hands away from that gun! Now you jest remember 
what ah told yer, if you value your health. 

Manse. Look here, you ain't told me what ah'm wanted 
fer yet; that much is comin' to me. 

Brock. You're wanted fer the killin' o' the express agent 
at Cedar Gulch last night. 

Manse. And anyone who says ah killed that agent lies. 

Brock. Look a here. (Brock comes down to r. of table. 
Manse is on l. Brock lays his gun down and reaches into 
his pocket. Manse grais the gun and levels it at him,) 

Manse. Don't move, or ah'll drop yer! 

Brock. You ain't got the sand. Well, why don't you 
shoot? (Manse's hand tremhles, and he drops the gun on 
tahle) Hell! You're a coward! 

Manse. Ah don't know why ah couldn't pull the trigger 
on that gun, but ah just couldn't do it. 

Brock. Ah'll tell you why. Cause you've got one murder 
on your hands now. 



The Sheriff of Tuckahoe. 13 

Manse. Ah tell you ah didn't do it. 

Brock {takes watch out of pocket). Did you ever see that 
afore? 

Manse. Ma watch ! 

Brock. Yes, it was found in the hands of the dead ex- 
press agent. Looks like he tore it from you in the struggle. 

Manse. How do you know it is mine? 

Brock. Cause it is the same one that mother gave you 
when you was sixteen years old. It has her name on the 
inside. 

Manse. Ah lent it to one 0' the boys yesterday, he 

Brock. Then you do admit that you was one o' the gang 
that held up the Wells Fargo? 

Manse. Yes, but ah didn't do no killin', ah tell yer, and 
them that says ah did is liars. (He reaches for his revolver,) 

Brock. Easy thar, them guns seem to worry you. You'd 
better lay them on the table. Come on out with them. 
(Manse lays his revolvers on the table) Mother, ah want 
you to leave the room for a minute. 

Mrs. p. Yes, Brock. 

Brock. And don't worry any more. You can come in 
again in a minute or two. 

Mrs. p. (aside to Brock). Brock, for my sake. 

[EXIT D. r. 

Brock. Manse, look here. Ah know that if ah take you 
up it will break mother's heart. You say that you had no 
hand in the killin' but you was one of the gang and that 
will go hard with you afore the boys. Jim Driscoll said 
when they found your watch that if ah got you, ah'd let 
you go again cause ah was your brother. Ah told him that 
he lied and ah gave the boys ma word that if ah did get you 
and you got away, ah would confess and serve out your time 
in jail. Now, thars your watch, thars your gun, and thars 
the door; outside is ma horse; now make the best of it! 

Manse (holds out hand). Brock! (Brock shakes his 
head in the negative) You won't take ma hand? 

Brock. Yes, maybe some day when ah meet you again 
and you can look me in the eye and tell me you're on the 
square. Now go! (Manse goes to d. f., opens it cautiously 
and EXITS after first looking out to see that the road is 
clear.) 

ENTEE Mrs. Parsons d. r. 
Mrs. p. You let him go, Brock? (Brock sits in chair 



X4 The Sheriff of Tuckahoe. 

beside table) Yes, mother, ah let him go. (Mrs. Parsons 
kneels beside him) I knew you would. Brock, cause you are 
my boy, you are both my boys. (There is a knock on d. f.) 

Mrs. p. (rising), I wonder who that can be! 

Brock. It's the boys, mother. They have come for me. 

Mrs. p. I don't understand. Brock. 

Brock. Mother, ah'm going away. All may be gone a 
long time. 

Mrs. p. How long. Brock? 

Brock. God knows! (Knock is repeated at door) Come 



m! 



ENTER Slim d. f. 



Slim. Howd'y, folks? Brock, ah come- 



Brock. You've come fer me, ah know. Jest wait a 
minute, won't yer? 

Slim. You don't seem to get me. Brock. Us boys jest 
seen Manse a ridin' off on your horse, and 

Brock. Yes, ah know. 

Slim. Wait a minute will yer? One o' them road agents 
we got this mornin' confessed that he was the man that 
killed the express agent. So us boys figured that he must 
have stoled Manse's watch some time or other, and that 
Manse had nothin' ter do with the hold-up, seein' that you let 
him take your horse and seein' also that none of the gang 
we got would say a word about him. So now, seein' that ah 
said ma little piece, ah'll just beat it back to the ranch and 
partake o' that Christmas dinner. So long! [EXIT d. f. 

Brock (crosses and sits in rocker). Mother, get me 
slippers, will yer? 

Mrs. p. Why Brock^ I thought that you were going away. 

Brock. Ah've changed ma mind. 

Mrs. p. (crosses and kneels beside him). Then you are 
going to stay home with me all day? 

Brock. All day. (Slim puts his head in at d. f.) 

Slim. Oh, Brock! 

Brock. Hello ? 

Slim. Ah forgot ter wish you a Merry Christmas. 

Brock. Same to you and all the boys. 

Slim. Thanks. [EXIT 



CURTAIN, 



One Act Farces 



TANGLES* 15 cents. A farce in i act, by C. Leona Dalkymple. 
4 male, a female characters, i interior scene. Bill Tracy accepts Mrs.Janeway'^s 
invitation to dinner, intended for his cousin Pkil. Tracy ^ who is Jack J aneivay^ s 
chum. Elsie^ her maid, advertised for a husband under the soubriquet of *' Bright 
Eyes." JenkinSt BilVs valet, answers it as X. Y. Z. The mistakes in identity get 
them into a tangle of surprises, finally unraveled by Jacky who arrives opportunely. 
The ** situations * are tremendously funny and keep the audience in roars of laughter. 

NIGHT IN TAPPANt A. 15 cents, a farce comedy in i act and 
I scene, by O. B. Dubois. 2 male, 3 female characters. Modern costumes. Dining- 
room scene in suburban residence. Time, about 30 minutes. The action commences 
at 10.45 P* M. on the arrival of Mr. and Mrs. John Betts^ quite unexpectedly at the 
home of Mr, Augustus Betts^ while Mrs. Augustus is awaiting her husband's return 
from the city. The^ complications caused by a saucy, blundering Irish servant, Mr, 
Augustus being entirely ignorant of the new arrivals, are screamingly bewildering. 

KISSING THE WRONG GIRL* is cents, a farcical sketch in 
1 act, by W. C. Parker, i male, 2 female characters. It is the case of a " cheeky " 
book-agent, two sisters who look much alike, all sorts of funny mistakes, and any 
number of ridiculous situations that will keep^ the audience in a continuous roar of 
laughter. The piece can be played either ** straight " or with specialties. No scenery 
ne^ed. 

LITTLE RED MARE^ The» is cents, a farce in I act, by O. E. 
Young. 3 male characters, i interior scene. Time, about 35 minutes. The little red 
mare and a very deaf farmer's red-headed daughter are both named Nellie. A dude 
is after the daughter, and a horse-dealer wants the mare. The farmer mbtakes the 
one for the other, and the way he gets the two claimants muddled in his criss-cross 
description of the two Nellies keeps the audience in a roar from the word " go." By 
a startling incident the farmer is suddenly cured of hb deafness, and what he hears 
aids in clearing up the muddle. 

NEW REPORTER, The. is cents, a farce in I act and i interior 
scene, by Franklin Johnston. 6 male, 2 female characters. Time, 45 minutes. 
Hobbs^ the proprietor of a newspaper, is expecting a new reporter whom he has 
engaged on trial. Nancy^ Hobbs's daughter, persuades her lover, Jack^ who is 
vnknown to her father, to personify the new reporter, and gets to work. The 
blunders he makes, and the arrival of Tupper., the real reporter, results in a general 
flare up, until explanations are made, and Tupper is persuaded by Nancy to retire in 
favor of Jack. 

BYRD AND HURD; or, A Fair Exchange, is cents. A 

farcical sketch in i act, by Harold Sander. 6 male characters. ^ 1 exterior and i in- 
terior scene. Time, about 40 minutes. For seven years a lawsuit has been pending 
between Byrd and Hurd for possession of a pond situated between their contiguous 
farms. They are both arrested in Boston. Byrd has a lunch served, but has no 
tobacco \ Hurd has, and is hungry. After bitter altercations, Byrd divides his lunch ; 
Hurd his tobacco. The exchange leads to reconciliation and personal settlement ot 
the lawsuit, to the disgust of Sly^ the lawyer. The scenes are quite simple and the 
•'situations" extremely comic. 

FINNEGAN AND FLANAGAN. 15 cents, a farcical sketch in 

1 act, by W, C. Parker, i male, i female character. Time of playing 25 minutes. 
Finnegan has a smile as broad as the Lakes of Killarney, and Mrs. Flanagan has 
** the force as well as the fancy." His quiet utterances and her awkward mannerisms 
are droll in the extreme. The ** business " is excruciatingly comic, and the lucky 
liquidation of an unpaid board bill concludes one of the funniest of Irish farces. 
Specialties can be introduced, or the piece may be played " straight." No scenery Is 
required. 

FUN IN A SCHOOL ROOM, is cents, a farcical sketch m 1 
act and i interior scene, by Harry E. Shelland. 4 male characters, a Dutch-dialect 
teacher, and 3 pupils consisting of a young Bowery tough, a Hebrew boy, and a rather 
good little bojj Time, about 40 minutes. The cjuestions and answers given in their 
respective personalities are •utrageously funny, including an entirely new version of 
the discovery of America. The sketch throughout ia incredibly absurd. 



Mock Trials, Initiations and Monologfucs 

MAN PROPOSES, BUT WOMAN DISPOSES. 15 cent*. 

A sprightly and emotional Monologue by Lawrence D. Fogg, in which a young lady, 
on her birthday, endeavors by the guidance of letters and gifts from her numerous 
admirers, to decide on one of them (or a husband. Her criticisms are witty and 
amusing, but she fails to make any selection. Why ? — Because. 

CONFESSIONS OF A MALE FLIRT, is cents, a monologue, 

by Lawrence D. Fogg, in which a bachelor, on the eve of his wedding, while burn- 
ing his love correspondence, recalls to mind some of the girls with whom he has been 
in love, with his hopes, his successes, and his disappointments. A strange medley of 
humor and heart-burnings, ending with a pathetic climax. Note — At the end, while 
the performer's head is buried in his hands, a procession may pass slowly by, repre- 
senting the girls he has been describing ; similar in effect to the scenes in the 
" Reveries of a Bachelor." 

SHOW AT WTLKESTS HALL, The. is cents, a comedy costume 

monologue for a lady, or gentleman in female costume, by Bertha M. Wilson. A 
*' Take-Off " on Delsarteans in 2 scenes • the second can be given without the first, 
being complete in itself. A sure hit. 

WAKE AT O'GRADY^ The. 15 cents. By William Sidney 

HiLLYER. A monologue for an Irish character comedian. Runs 15 minutes. Besides 
the *' wake," Mr. Dug^an tells all about the christening at McGuire's. Especially 
recommended. 

CRUSHED TRAGEDIAN, A. 15. cents. By Wiluam Sidney 
HiLLYER. A character monologue for male comedian. Depicts the reminiscences 
and tribulations of "the palmy days" by one of '' the old school." Runs about 15 
minutes. Especially recommended. 

MATRIMONY— BEFORE AND AFTER. 2s cents, a humor- 

oui monologue, describing in a series of funny stories and sly deductions from facts 
more or less authentic, the hopes and delusions of the maudlin stages of love and 
courtship, and the awakening realities as viewed from the final standpoint of matri- 
mony. It keeps an audience in broad grins and explosive laughter for about ao minutes. 

GREAT LIBEL CASE, The. is cents, a new mock trial, by Harry 
E. Shelland. 21 males. 8 leading characters and 13 jurymen (i excused). A roaring 
travesty of proceedings in court in the backwoods of Kentucky. The war experiences 
of the defendant, a bogus colonel, and the personalities of a jury of mixed nationalities 
and occupations, make this trial a screaming farce. It plays a whole evening. 

CASE OF HERR BAR ROOMSKI CDNEYISKEY, The. 

(An Anarchist.) IS cents. A new Mock Trial, by Harry E. Shelland. 27 male, 
I female (usually played by a male) characters. The latest and most amusing 
mock trial published. Good Tramp, French, German, Irish, Negro and Jew parts. 
Plays a whole evening. 

RUGGLES vs. THE PADERWHISKIE SCHOOL, is cents. 

A mock trial, by Charles J. Martin. Arranged for 18 male and 14 female characters 
or more as circumstances require ; the female characters are usually performed by 
males. This mock trial will keep the audience laughing every moment ; the action is 
rapid and replete with irresistible drolleries. Rug^f^Us brings suit against the Pader- 
whiskie School for damages caused by the insufferable noise, vocal and instrumental, 
by which his rest is destroyed. Examples are performed to enable the jury^ to 
appreciate their excellence, giving opportunities for the introduction of specialties. 
Can be played a whole evening. 

RIDING THE GOAT. 15 cents, a burlesque initiation in a lodge of 
the "Sovereign Union of the Emancipated Husbands," by O. E. Young. 12 male 
characters, also the wives of all of them (performed by males), and 2 attendant imps; 
associate members and their wives, ad libitum. Time, 1% hours. The cast includes 
a Dutchman, an Irishman, a Yankee and a Darkey. The proceedings are intensely 
(unny with a roaring climax. Just the thing for a club where a large cast is desired. 




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MILITARY PLAYS 

25 CENTS EACH 

M. F. 

BY THli. EXEMY'S HAND. 4 Acts; 2 hours 10 4 

ED WARI3S, THE SPY. 5 Acts; 2^4 hours 10 4 

PRlSOXEll OF ANDERSONVIL.L.E. 4 Acts; 2^ hours. 10 4 

CAPTAIX DICK. 3 Acts; 11^ hours 9 6 

ISABEL, THE PEARL. OF CUBA. 4 Acts; 2 hours 9 3 

LITTLE SAVAGE. 3 Acts; 2 hours; 1 Stage Setting 4 4 

BY FORCE OF IMPULSE. (15 cents.) 5 Acts; 2}4 hours 9 3 

BETWEEN TWO FIRES. (15 cents.) 3 Acts; 2 hours 8 3 



RURAL PLAYS 

25 CENTS EACH 

MAN FROM MAINE. 5 Acts; 2^ hours 9 

AMONG THE BERKSHIRES. 3 Acts; 234 hours 8 

OAK FARM. 3 Acts; 2^ hours; 1 Stage Setting 7 

GREAT WINTERSON MINE. 3 Acts; 2 hours 6 

SQUIRE THOMPKINS' DAUGHTER. 5 Acts; 2}4 hours 5 

TVHEN A MAN'S SINGLE. 3 Acts; 2 hours 4 

FROM PUNKIN RIDGE. (15 cents.) 1 Act; Ihour... 6 

LETTER FROM HOME. (15 cents.) 1 Act; 25 minutes 1 



ENTERTAINMENTS 

25 CENTS EACH 

AUNT DINAH'S QUILTING PARTY. 1 Scene 5 11 

BACHELOR MAIDS' REUNION. 1 Scene 2 30 

IN THE FERRY HOUSE. 1 Scene; li^ hours 19 15 

JAPANESE WEDDING. 1 Scene; 1 hour 3 10 

MATRIMONIAL EXCHANGE. 2 Acts; 2 hours 6 9 

OLD PLANTATION NIGHT. 1 Scene; I14 hours 4 4 

YE VILLAGE SKEWL OF LONG AGO. 1 Scene. 13 13 

FAMILIAR FACES OF A FUNNY FAMILY 8 11 

JO LL Y B ACHE LORS . Motion Song or Recitation 11 

CHRISTMAS MEDLEY. 30 minutes 15 14 

EASTER TIDINGS. 20 minutes 8 

-.r^o /If; cents.) 1 Act; li^ hours 1 13 

ents) 11 8 



One copy del. to Cat. Div. 



8 Ann Street, N. Y, 




API) 



'3 I9t\ 




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COMEDIES AND DR 

25 CENTS EACH 




017 400 154 6 



BREAKING HIS BONDS. 4 Acts; 2 hours 6 3 

BUTTERNUT'S BRIDE. 3 Acts; 21^ hours 11 6 

COLLEGE CHUMS. 3 Acts; 2 hours; 1 Stage Setting 9 3 

COUNT OF NO ACCOUNT. 3 Acts; 2i^ hours 9 4 

DEACON. 5 Acts; 2J^ hours 8 6 

DELEGATES FROM DE:N^ER. 2 Acts; 45 minutes 3 10 

DOCTOR BY COURTESY. 3Acts;2hours 6 5 

E ASTSIDE RS, The. 3 Acts; 2 hours; 1 Stage Setting 8 4 

ESCAPED FROM THE LAW. 5 Acts; 2 hours 7 4 

GIRL FROM PORTO RICO- 3 Acts; 23^ hours 5 3 

GYPSY QUEEN. 4 Acts; 2}^ hours 5 3 

IN THE ABSENCE OF SUSAN. 3 Acts; li^ hours 4 6 

JAILBIRD. 5 Acts; 21^ hours 6 3 

.TOSIAH'S COURTSHIP. 4Acts;2hours 7 4 

MY LADY DARRELL. 4 Acts; 2^^ hours 9 6 

MY UNCLE FROM INDIA. 4 Acts; 2]^ hours 13 4 

NEXT DOOR. 3 Acts; 2 hours 6 4 

PHYLLIS'S INHERITANCE. 3 Acts; 2 hours 6 9 

REGULAR FLIRT. 3 Acts; 2 hours 4 4 

ROGUE'S LUCK. 3Acts;2hours 5 3 

SQUIRE'S STRATAGEM. 5 Acts ; 2i^ hours 6 4 

STEEL KING. 4Acts; 2)^ hours 5 3 

WHAT'S NEXT? 3 Acts; 2}^ hours 7 4 

WHITE LIE. 4Acts; 2^^ hours 4 3 



WESTERN PLAYS 

25 CENTS EACH 

ROCKY FORD. 4 Acts; 2 hours.... 8 

GOLDEN GULCH. 3Acts; 2^4 hours 11 

RED ROSETTE. 3Acts;2hours 6 

MISS MOSHER OF COLORADO. 4 Acts; 2i^ hours... 5 

STUBBORN MOTOR CAR. 3 Acts; 2 hours; 1 Stage Setting 7 

CRAAVFORD'S CLAIM. (15 cents.) 3 Acts; 234 hours. 9 



^ DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y. 




